SCHOOL - Music Inc. Magazine

{MUSICADVOCACY}
INSULATE PROGRAMS
DENNY SENSENEY FORMER OWNER OF SENSENEY MUSIC WICHITA, KAN.
Learning to make
your own music is a
blessing the music
products industry
and music education
profession enjoy, one universally
accepted to have a
positive impact on our lives.
Why then do we consistently
find ourselves in the position
of defending school music programs
in front of legislators
and school board members?
I believe it’s because we
have been largely ineffective at
applying insulation to our
product. Insulation eliminates
or slows down unwanted side
effects. Electric wires have
insulation, our homes have
more insulation than ever
before, and our businesses
have insulation (i.e. insurance)
to ward off the effects of accidents
or a lack of imagination.
Becoming an effective advocate
for music education in the
public schools can slow the
danger created by budget cuts
or schedule restrictions. And
developing a corporate advocacy
strategy is good business
that’s also good for students,
schools and communities.
Customers are attracted to
businesses that help improve
their communities, regions
and states. Quality employees
are attracted to and stay with
companies that are responsible
leaders in their fields. Not
least of all, decision makers
respect such businesses.
CORE BELIEFS
Where can you start as an
advocate? Articulate
what you believe in. I developed
54 I MUSIC INC. I OCTOBER 2010
‘The extent
to which our
message is
sound, welldocumented
and, most of
all, reasonably
presented will
determine the
outcome.’
two strong beliefs over 40 years
serving the music profession in
our community and region:
1. Without strong music programs
in the public schools, a
cultural caste system will
develop where only wealthy children
will have access to an education
enriched by the arts.
Market expansion cannot exist
in this kind of environment,
and moreover, it is not the
right thing to do.
2. We must develop both a
“wellness program” and an
“emergency room.” A wellness
program educates decision
makers about the wisdom of
creating and maintaining
strong music programs at the
core of the curriculum. An
emergency room is necessary
to save programs threatened by
the ignorance of fast-acting,
well-intentioned decision makers
under pressure of budget
and schedule challenges.
THE FIGHT IN WICHITA
In the 1980s, the Wichita
Board of Education recommended
elimination of music
and art from all elementary
schools in response to budget
restrictions of that recessionary
period. Perceiving this as
both bad for business and bad
for thousands of students, I
called a meeting in my office
of community leaders from the
fields of education, business,
politics and arts organizations
to discuss the situation and
present a plan to address the
proposal.
Using the NAMM advocacy
Guidebook created by Karl
Bruhn — a retired music
industry executive and former
NAMM director of market
development — a group of passionate
advocates were empowered
to make a difference.
They set up and activated a
communication tree with
information on how to be an
effective advocate.
Thousands of messages
were delivered by mail, fax and
phone, as well as in-person, to
board of education members
and school administrators in
support of maintaining the
existing music and art programs
at current levels. The
passion and volume of the
debate effected a reversal of
the proposed action.
OUR OBLIGATION
Sadly, that was not the last
attempt to cut music programs
in ensuing years. The
primary catalyst has always
been either budgetary concerns
or scheduling challenges
resulting from No Child Left
Behind legislation.
I believe most educational
decision makers — administrators,
board of education
members and legislators —
support strong schools for our
children and our communities.
They have a very difficult job
allocating dollars and time for
the best outcome for the most
students.
The voice of music education
advocates is now one of
many heard by decision makers.
The extent to which our
message is sound, well-documented
and, most of all, reasonably
presented will determine
the outcome. It is the obligation
of community members, taxpayers,
parents and students to
articulate effectively and with
integrity the kind of education
they desire.
It is also the obligation of
those of us who believe in the
power of music education to
share our understanding and
passion with those who have
accepted the responsibility of
making decisions for us. MI